We regularly intentionally expose ourselves to fictions we take to be likely to elicit in us emotions we generally find unpleasant when prompted by actual states of affairs. This is the so-called “paradox of tragedy”. We contribute to solving the paradox of tragedy by denying that, when fiction-directed, most of these emotions are in themselves unpleasant. We first provide strong evidence that these emotions, such as fear, sadness, or pity, are often enjoyed when fiction-directed. We then (...) advance an explanation of what makes these fiction-directed emotions often not unpleasant, while their reality-directed counterparts are generally so. In the last section, we advance an explanation of what makes fiction-directed emotions often enjoyable, and argue that a complete solution to the paradox of tragedy should be pluralist. (shrink)

An evolutionary approach to ethics supports, to some extent, the sceptical meta-ethics found by some of the Greek sophists and Nietzsche. On the other hand, a modern naturalistic account on the origin and nature of morality, leads to somewhat different conclusions. This is demonstrated with an answer to three philosophical questions: does real freedom exist?, does the good, or real virtue, exist?, does life have a meaning?

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further (...) argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that (...) painful art is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘ (...) class='Hi'>paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (shrink)

Nietzsche talks about shame [scham*, schmach*, schand*] in all of his published and authorized works, from The Birth of Tragedy to Ecce Homo. He refers to shame in over one hundred passages – at least five times as often as he refers to resentment/ressentiment. Yet the scholarly literature on Nietzsche and shame includes just a handful of publications, while the literature on Nietzsche and resentment includes over a thousand. Arguably, this disproportionate engagement has been driven by the fact that (...) English translations of Nietzsche’s writings systematically italicize and transliterate ‘ressentiment’ rather than treating it as the normal word it is. In any case, this chapter aims to fill the gap in the secondary literature by using digital humanities methods to systematically investigate the functions of shame in Nietzsche’s writings. I argue that Nietzsche is ambivalent about shame, depending on the function that it serves. There are four main functions. First, in a society of near-equals, it regulates interactions and incentives in ways that preserve game-theoretic equilibria. Second and relatedly, Nietzsche associates the capacity to experience nuanced and appropriate feelings of shame – and to anticipate them in others – with the pathos of distance, a virtue that he associates with nobility. Third, when shame is directed towards fixed aspects of human nature, it transforms those aspects into vices; by contrast, when it is directed towards malleable aspects of human nature, it may foster self-improvement and virtue. Nietzsche frequently laments the way that shame targets immutable aspects of ourselves. Finally and relatedly, Nietzsche casts counter-shame on those who would direct first-order shame on fixed aspects of human nature, as well as a paradoxical form of uplifting shame on their victims. If this is right, then Nietzsche does not offer a univocal verdict on shame. Instead, like many other emotions and emotional capacities, shame is inescapable, complex, and function-relative. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six (...) popular solutions to the paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

While both Isaiah Berlin and William James are widely seen as pluralists, this paper contends that neither is a pluralist tout court. Berlin certainly is a pluralist when it comes to morality and politics, but he is a monist when it comes to nature. And James is, paradoxically, both a pluralist and a monist as regards all of reality. These claims are advanced by showing how both thinkers’ approaches contrast with those of monists, not least Plato, Hegel, and Nietzsche. They (...) are also shown to be associated with different narrative genres: tragedy in Berlin’s case, and tragicomedy in James’. The paper then concludes with a brief discussion of an alternative approach, one that treads a path in between monism and pluralism and, because of this, favours a particular form of comedy. (shrink)

In this essay, I discuss a few ways in which songs are used, ways in which listeners engage with and find meaning in music. I am most interested in sad songs—those that typically feature narratives about lost love, separation, missed opportunity, regret, hardship, and all manner of heartache. Many of us are drawn to sad songs in moments of emotional distress. The problem is that sad songs do not always make us feel better; to the contrary, they often make us (...) feel worse. So, why do we listen to sad songs? I argue that we seek out sad songs, partly, to intensify distress, which helps us reflect on situations of profound personal significance. (shrink)

Palawan is a land of promise, and of paradox. On maps, it appears on the edge of the Philippines, isolated. Indeed, it is a kind of last frontier. Its population remained tiny for centuries, the government offering homestead land in the 1950s practically for free to attract migrants from outside. The Palawan State University was established by law in 1965, but did not become operational until 1972. A commercial airport did not exist until the 1980s, and for many years, (...) flights were limited. Yet Palawan is one of the oldest sites of human habitation in the Philippines with the famous Tabon Cave human fossils. The oldest bone fragment here has been dated to be about 47,000 years. We know, too, that trade with China goes back several centuries. Today, Palawan seems to be making up for lost time with new commercial investments pouring in at breakneck speed. In particular, outsiders have rediscovered its potentials around logging, mining, fisheries, and tourism. This has caused concern among individuals and civil society organizations who want sustainable development, and see the commercial developments mainly as extractive, not just of natural resources but of the human. There’s very cheap labor available. And when potential investors marvel about cheap land, they’re actually talking about displacing earlier settlers, including indigenous people, from their lands. A subtle but still insidious aspect of the exploitation of human resources is a transformation of the very concept of human development. Using the rhetoric of modernity, residents in Palawan are reorienting the way they view themselves as well as their families and friends. The value of a human being now hinges on how they look, and the desired appearance is defined from the outside, as we see in this anthology of research reports coming from the Chemical Youth project of the University of Amsterdam and the University of the Philippines Diliman. We read about the importance of fair skin as a projection of cleanliness, of high social status (meaning someone not engaged in manual labor and therefore not exposed to the sun). We read of how “femininity” is defined around body contours, and cosmetics, and how hormones are used by male-to-female transgenders. We go beyond the visual, reading about the importance of controlling or enhancing body odors among tour guides, who interestingly are especially concerned about the bad odor management of their foreign customers, using car perfumes to keep their work manageable and we learn how difficult it is for security guards to stay alert during their long shifts. Energy drinks and cigarettes help them perform their duties. All these transformations through what the French philosopher and historian Michel Foucault has called “technologies of the self” are as paradoxical as Palawan. On the surface, the products—which are technologies—seem to be mainly in the realm of the self but are, in reality, pushed, through marketing, from the outside, in contexts of inequality and exploitative labour relations. Personal aspirations are not personal but are for predefined standards of modernity, related to work-related demands and expectations. The self must be made presentable to the tourist, to the customers in malls, and to those who may threaten the properties that young people protect. It is not surprising that these transformations become problematic for the “self.” The skin whiteners, the hormones, the body deodorants, and the energy drinks are expensive and can distort budgetary priorities. The money for tonic drinks, for example, could well go into more nutritious food. The tragedy, too, many of the products used are of doubtful safety and efficacy. Even the energy drinks have much too high levels of caffeine that can cause cardiac palpitations. Cosmetics and the skin whiteners imported from China and unregistered with the Food and Drug Administration may contain toxic chemicals like mercury. But even registered skin whiteners can be problematic, their so-called “skin-whitening effect” coming about because they take away the upper layers of the skin, leaving behind a red glow (seen as “whitening”) which is actually inflammation. The whitened skin fails to protect against the sun, leading to adverse effects such as black spots. Ultimately though, the problems come with the very definition of the self. As the reports show, young people use the chemicals with some ambivalence, knowing how expensive they are and experiencing some of the undesirable side effects. There is, too, doubt about whether what they’re doing is indeed “good,” captured by how IP women will put on cosmetics only when they’re away from home and about to go to work. The cosmetics have to be removed before they return home because they are not socially acceptable. The research reports are not for Palawan alone. It must make us more critical and discerning as we revisit concepts of development and exploitation, modernity and tradition, self and community. The chemicals, in many ways, are like the products used in precolonial barter trade. For the Chinese, the beeswax and the sea cucumbers, for the inhabitants of Palawan the ceramics, represented faraway lands. To have those products gave prestige. Today, the skin whiteners and tonic drinks and other chemicals described in this anthology represent modernity with promises of not just of a more attractive self, but of better jobs, a better life. We are proud to have worked with the Palawan State University, and the people of Palawan, to gather powerful narratives that will now challenge the outside, the purveyors of modernity, to be more critical and discerning, the chemicals now to be seen not just as stuff applied to the biological body, but as powerful shapers of social bodies. (shrink)

Supererogatory acts—good deeds “beyond the call of duty”—are a part of moral common sense, but conceptually puzzling. I propose a unified solution to three of the most infamous puzzles: the classic Paradox of Supererogation (if it’s so good, why isn’t it just obligatory?), Horton’s All or Nothing Problem, and Kamm’s Intransitivity Paradox. I conclude that supererogation makes sense if, and only if, the grounds of rightness are multi-dimensional and comparative.

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

Pierre Destrée’s new translation of Aristotle’s Poetics notes the work’s “destin paradoxal”: How can a work on Greek tragedy remain silent on the political, social, religious, or performative aspects of an artform that in historical context was profoundly public? How can a handbook on the various aspects of playwriting produce a superior drama when Aristotle himself acknowledges that artistic production is a matter of imagination? Destrée’s answer: Aristotle’s Poetics is neither an historical study of a classical Greek cultural institution (...) nor a handbook for aspiring playwrights. Rather, as is often the case with Aristotle’s treatises, Aristotle has created or carved out a new field for investigation and reflection; thus the Poetics creates the field of aesthetics, namely the study of beauty in the arts. Destrée has successfully produced a volume that provides general readers of Aristotle’s Poetics with the historical, literary, and philosophical tools that will allow them to appreciate that much of what seems odd about that text is only paradoxical. (shrink)

This paper is concerned with the paradox of decrease. Its aim is to defend the answer to this puzzle that was propounded by its originator, namely, the Stoic philosopher Chrysippus. The main trouble with this answer to the paradox is that it has the seemingly problematic implication that a material thing could perish due merely to extrinsic change. It follows that in order to defend Chrysippus’ answer to the paradox, one has to explain how it could be (...) that Theon is destroyed by the amputation without changing intrinsically. In this paper, I shall answer this challenge by appealing to the broadly Aristotelian idea that at least some of the proper parts of a material substance are ontologically dependent on that substance. I will also appeal to this idea in order to offer a new solution to the structurally similar paradox of increase. In this way, we will end up with a unified solution to two structurally similar paradoxes. (shrink)

The liberal international legal order faces a legitimacy crisis today that becomes visible with the recent anti-internationalist turn, the rise of populism and the recent Russian invasion of Ukraine. Either its authority or legitimacy has been tested many times over the last three decades. The article argues that this anti-internationalist trend may be read as a reaction against the neoliberal form taken by international law, not least over the last three decades. In uncovering the intricacies of international law’s legitimacy crisis, (...) the article uncovers the paradox of global constitutionalism: that its need to adopt a sectoral form of integration may cause a legitimacy gap/deficit because international authorities, resting their legitimacy primarily on instrumental grounds, may face problems in compensating for the legitimacy deficit caused by the erosion of domestic sovereignty and extending their legitimacy to non-instrumental grounds. This paradox has one necessary structural and two contingent content-related implications for domestic democracies: (1) it necessarily narrows down the regulatory space of nation-states; and this may in turn (2) impair democratic stability and solidarity, and (3) provide a fertile ground for populism. Drawing on Raz’s service conception, the article focuses on the interaction between international and domestic authorities and highlights the problematic aspects of the neoliberal constitutionalization of international law. (shrink)

Sometimes a fact can play a role in a grounding explanation, but the particular content of that fact make no difference to the explanation—any fact would do in its place. I call these facts vacuous grounds. I show that applying the distinction between-vacuous grounds allows us to give a principled solution to Kit Fine and Stephen Kramer’s paradox of ground. This paradox shows that on minimal assumptions about grounding and minimal assumptions about logic, we can show that grounding (...) is reflexive, contra the intuitive character of grounds. I argue that we should never have accepted that grounding is irreflexive in the first place; the intuitions that support the irreflexive intuition plausibly only require that grounding be non-vacuously irreflexive. Fine and Kramer’s paradox relies, essentially, on a case of vacuous grounding and is thus no problem for this account. (shrink)

The coordinated attack scenario and the electronic mail game are two paradoxes of common knowledge. In simple mathematical models of these scenarios, the agents represented by the models can coordinate only if they have common knowledge that they will. As a result, the models predict that the agents will not coordinate in situations where it would be rational to coordinate. I argue that we should resolve this conflict between the models and facts about what it would be rational to do (...) by rejecting common knowledge assumptions implicit in the models. I focus on the assumption that the agents have common knowledge that they are rational, and provide models to show that denying this assumption suffices for a resolution of the paradoxes. I describe how my resolution of the paradoxes fits into a general story about the relationship between rationality in situations involving a single agent and rationality in situations involving many agents. (shrink)

It is widely accepted that there is what has been called a non-hypocrisy norm on the appropriateness of moral blame; roughly, one has standing to blame only if one is not guilty of the very offence one seeks to criticize. Our acceptance of this norm is embodied in the common retort to criticism, “Who are you to blame me?”. But there is a paradox lurking behind this commonplace norm. If it is always inappropriate for x to blame y for (...) a wrong that x has committed, then all cases in which x blames x (i.e. cases of self-blame) are rendered inappropriate. But it seems to be ethical common-sense that we are often, sadly, in position (indeed, excellent, privileged position) to blame ourselves for our own moral failings. And thus we have a paradox: a conflict between the inappropriateness of hypocritical blame, and the appropriateness of self-blame. We consider several ways of resolving the paradox, and contend none is as defensible as a position that simply accepts it: we should never blame ourselves. In defending this startling position, we defend a crucial distinction between self-blame and guilt. (shrink)

There are infinitely many ways the world might be, and there may well be infinitely many people in it. These facts raise moral paradoxes. We explore a conflict between two highly attractive principles: a Pareto principle that says that what is better for everyone is better overall, and a statewise dominance principle that says that what is sure to turn out better is better on balance. We refine and generalize this paradox, showing that the problem is faced by many (...) theories of interpersonal aggregation besides utilitarianism, and by many decision theories besides expected value theory. Considering the range of consistent responses, we find all of them to be quite radical. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

The study of the “first wave” of reactions to the Critique of Pure Reason in Germany from the second half of the 1780s until the beginning of the nineteenth century reveals the paradoxical status of the Kantian transcendental subject. While the existence of the transcendental subject, whatever the term means, is not open to question since it arises from the very essence of critical philosophy, the fundamental status of the subject is sometimes questioned in this period. Although the meaning of (...) the concept of transcendental subject seems obvious today it lends itself to various interpretations in the late eighteenth century. To achieve my goal I have undertaken a textological analysis of the works of the earliest opponents and followers of the Kantian critique and a reconstruction of the conceptual field in the midst of which the transcendental subject has been planted. Among others I draw on the works of J. S. Beck, J. A. Eberhard, J. G. Hamann, F. H. Jacobi, S. Maimon, K. L. Reinhold, G. E. Schulze and A. Weishaupt. The authors of the period are grouped depending on the common themes and questions that prompted them to turn to the concept of the transcendental subject, even though the results of their reflections did not always coincide. These authors think of the transcendental subject in its relationship to the transcendental object, or as “something = х”, and in terms of the relationship of representation to the object. It is characterised sometimes as something absolutely hollow, and sometimes as the fullness of true reality. The status ascribed to the transcendental subject is sometimes that of a thing-in-itself and sometimes that of a “mere” idea. Finally, Kant’s transcendental subject was sometimes seen as something to be overcome and sometimes as an infinite challenge to understanding. (shrink)

Examining imagination, 4E cognition and the arts together expands our understanding of them all. 4E cognition is a framework that comprises the theories separately known as embodied, enactive, embedded, and extended cognition. This paper draws on research in cognitive science (including 4E and recent predictive processing approaches), ideas in phenomenology, and artworks from The Extended Mind exhibition (2019–20). The artworks offer diverse reflections on 4E cognition, as well as revealing personal, political and ethical benefits and issues predicated on a 4E (...) cognition perspective. This approach further provides a way of defending the epistemic value of the imagination and of unpacking the four key puzzles associated with its relationship with the arts regarding its production of emotional response, imaginative resistance, and moral persuasion, and the paradox of our attraction towards horror and tragedy. The arts are a valuable mode of inquiry into the nature of cognition and neglect of their relevance negatively impacts understandings of the mind. (shrink)

Philosophers have long argued that duties to oneself are paradoxical, as they seem to entail an incoherent power to release oneself from obligations. I argue that self-release is possible, both as a matter of deontic logic and of metaethics.

In this article, the concept of moralistic fallacy introduced by B. D. Davis is elaborated on in more detail. The main features of this fallacy are discussed, and its general form is presented. The moralistic fallacy might have some undesirable outcomes. Some of them might even be in direct conflict to the original moral position. If this occurs, it is possible to characterize it as a paradox of moralistic fallacy. The possibility of this paradox provides a further reason (...) not to prevent any scientific inquiries and not to depict any knowledge as dangerous. (shrink)

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars (...) to try to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

The current debates in social sciences show that the paradox of observing—the embeddedness of observer in the process of observing—is at the heart of the controversy about their cognitive status and future. Although the problem of observing has been addressed in numerous theoretical perspectives—some of which (Habermas, Leydesdorff, Maturana, and Luhmann) are examined in this article—the prospects for resolving this paradox remain problematic. Locating a point that allows reflection on the process of autopoiesis in general, not just the (...) operation of a particular autopoietic system, may be one condition for resolving this paradox. Such point will offer reflection on all autopoietic systems, including the observer. The dynamic balance between equilibrium and disequilibrium is the mechanism which regulates the process of autopoiesis. Since the function of regulation is essentially a reflective function, this equilibrium between equilibrium and disequilibrium, which can be identified with the concept of homeorhesis introduced by Conrad Waddington, may offer a possibility to reflect on the process of observing. (shrink)

Conscientious objection in health care is a form of compromise whereby health care practitioners can refuse to take part in safe, legal, and beneficial medical procedures to which they have a moral opposition (for instance abortion). Arguments in defense of conscientious objection in medicine are usually based on the value of respect for the moral integrity of practitioners. I will show that philosophical arguments in defense of conscientious objection based on respect for such moral integrity are extremely weak and, if (...) taken seriously, lead to consequences that we would not (and should not) accept. I then propose that the best philosophical argument that defenders of conscientious objection in medicine can consistently deploy is one that appeals to (some form of) either moral relativism or subjectivism. I suggest that, unless either moral relativism or subjectivism is a valid theory—which is exactly what many defenders of conscientious objection (as well as many others) do not think—the role of moral integrity and conscientious objection in health care should be significantly downplayed and left out of the range of ethically relevant considerations. (shrink)

Saying that x is ineffable seems to be paradoxical – either I cannot say anything about x, not even that it is ineffable – or I can say that it is ineffable, but then I can say something and it is not ineffable. In this article, I discuss Alston’s version of the paradox and a solution proposed by Hick which employs the concept of formal and substantial predicates. I reject Hick’s proposal and develop a different account based on some (...) passages from Pseudo-Dionysius’ Mystica Theologia. ‘God is ineffable’ is a metalinguistic statement concerning propositions about God: not all propositions about God are expressible in a human language. (shrink)

This paper presents a paradox based on the following assumptions: that emotions are warranted when you are justified in thinking that the emotion is fitting, that there are warranted cases of past-directed fear, that fear is fitting in the face of its formal object: dangerousness, and that this formal object consists in a probability of damage or harm to something of value. The paper then discusses three likely solutions: (1) denying that past-directed fear can be warranted, (2) using an (...) alternative formulation of fear's formal object, and (3) giving up warrant as justified as fittingness. Finally, it provides a case for the third solution and presents a warrant-based approach to fittingness and the appropriateness of emotions in general. (shrink)

Given any proposition, is it possible to have rationally acceptable attitudes towards it? Absent reasons to the contrary, one would probably think that this should be possible. In this paper I provide a reason to the contrary. There is a proposition such that, if one has any opinions about it at all, one will have a rationally unacceptable set of propositional attitudes—or if one doesn’t, one will end up being cognitively imperfect in some other manner. The proposition I am concerned (...) with is a self-referential propositional attitude ascription involving the propositional attitude of rejection. Given a basic assumption about what constitutes irrationality, and a few assumptions about the nature of cognitively ideal agents, a paradox results. This paradox is superficially like the Liar, but it is importantly different in that no alethic notions are involved at all. As such, it stands independent of the Liar and is not a ‘revenge’ version of it. After setting out the paradox I discuss possible responses. After considering several I argue that one is best off simply accepting that the paradox shows us something surprising and interesting about rationality: that some cognitive shortfall is unavoidable even for ideal agents. I argue that nothing disastrous follows from accepting this conclusion. (shrink)

My aim in this paper is to develop a unified solution to two paradoxes of bounded rationality. The first is the regress problem that incorporating cognitive bounds into models of rational decisionmaking generates a regress of higher-order decision problems. The second is the problem of rational irrationality: it sometimes seems rational for bounded agents to act irrationally on the basis of rational deliberation. I review two strategies which have been brought to bear on these problems: the way of weakening which (...) responds by weakening rational norms, and the way of indirection which responds by letting the rationality of behavior be determined by the rationality of the deliberative processes which produced it. Then I propose and defend a third way to confront the paradoxes: the way of level separation. (shrink)

The paradox of hedonism is the idea that making pleasure the only thing that we desire for its own sake can be self-defeating. Why would this be true? In this paper, I survey two prominent explanations, then develop a third possible explanation, inspired by Joseph Butler's classic discussion of the paradox. The existing accounts claim that the paradox arises because we are systematically incompetent at predicting what will make us happy, or because the greatest pleasures for human (...) beings are found in certain special goods which hedonists cannot enjoy. On the account that I develop, the paradox is a consequence of a theory about the nature of pleasure, together with a view about the requirements of rational belief. Which of these explanations is correct, I argue, bears on central questions about how to understand the nature and extent of the paradox. (shrink)

Many religious, ideological and other beliefs are induced by upbringing. In ‘Paradoxes of Conviction’ G.A. Cohen asks why we persist in a belief, when we know we have this belief rather than a rival one, because we were brought up to believe it. Cohen adduces a syllogistic argument (named ‘the Argument’) that seems to demonstrate the irrationality of holding on to such a nurtured belief. If the Argument is right, it has far-reaching consequences because many nurtured religious and other beliefs (...) should then be abandoned as being irrational. This essay shows that the Argument is fallacious. (shrink)

Alternate Universes: Religion assumes the other world after death: paradise, hell, nirvana, karma.. Our world is incomplete, because there is truer universe, replicating Plato: behind something is something.. till the true idea - last judgment, karma.. R. Descartes's "I think, therefore I am", is independent of Plato. I'm thinking, regardless of there is truer idea or not. As I'm thinking, I can realize my first idea was false (eg. solving a math problem), and then the Plato's truer idea reappears. Plato (...) and Descartes precede each other as chicken and egg.. Paradox of Religion: Religions' rules (e.g. don't lie) increase chances of future paradise. Hume's: "A" preceding "B" doesn't need to cause "B" turns to: Expectation of "B" can cause "A" NOW Believers expect paradise to forever delay it. Paradise can paradoxically occur only by deviation from the religion... Exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013. (shrink)

The Buddhist Nikāya Suttas frequently mention the concept of fear (bhaya) and related synonyms. This concept does not receive much scholarly attention by subsequent Buddhist philosophers. Recent scholars identify a ‘paradox of fear’ in several traditions of classical Indian Buddhism (Brekke 1999, Finnigan 2019, Giustarini 2012). Each scholar points out, in their respective textual contexts, that fear is evaluated in two ways; one positive and the other negative. Brekke calls this the “double role” of fear (1999: 443). Each also (...) identify fear as purposely elicited to motivate acts aimed at achieving fearlessness, where freedom from fear is characteristic of nibbāna. They all find this puzzling. Finnigan asks: “Why would one purposefully incite fear if one’s goal is its elimination?” (2019: 221). Giustarini says that fear has a “contradictory nature” (2012: 513); Brekke calls it “the paradox of fear” (1999: 442). This article introduces the ‘paradox of fear’ as it appears in the Bodhicaryāvatāra of Śāntideva and the Nikāya suttas. It then critically examines Brekke and Giustarini’s proposed solutions. It argues that they get some things right in ways that are both supported by the Nikāyas and relevant to Śāntideva but that they leave some important questions unanswered. The article contends that these questions are best answered if fear is analysed as appropriate when its objects are related to karma and rebirth. (shrink)

This paper uses a paradox inherent in any solution to the Hard Problem of Consciousness to argue for God’s existence. The paper assumes we are “thought machines”, reading the state of a relevant physical medium and then outputting corresponding thoughts. However, the existence of such a thought machine is impossible, since it needs an infinite number of point-representing sensors to map the physical world to conscious thought. This paper shows that these sensors cannot exist, and thus thought cannot come (...) solely from our physical world. The only possible explanation is something outside, argued to be God. (shrink)

In this article, some classical paradoxes of infinity such as Galileo’s paradox, Hilbert’s paradox of the Grand Hotel, Thomson’s lamp paradox, and the rectangle paradox of Torricelli are considered. In addition, three paradoxes regarding divergent series and a new paradox dealing with multiplication of elements of an infinite set are also described. It is shown that the surprising counting system of an Amazonian tribe, Pirah ̃a, working with only three numerals (one, two, many) can help (...) us to change our perception of these paradoxes. A recently introduced methodology allowing one to work with finite, infinite, and infinitesimal numbers in a unique computational framework not only theoretically but also numerically is briefly described. This methodology is actively used nowadays in numerous applications in pure and applied mathematics and computer science as well as in teaching. It is shown in the article that this methodology also allows one to consider the paradoxes listed above in a new constructive light. (shrink)

This is a one page handout reconstructing the paradox and identifying four solutions in the literature, as well as some concerns about them.

Illusionism is the view that conscious experience is some sort of introspective illusion. According to illusionism, there is no conscious experience, but it merely seems like there is conscious experience. This would suggest that much phenomenological enquiry, including work on phenomenological psychopathology, rests on a mistake. Some philosophers have argued that illusionism is obviously false, because seeming is itself an experiential state, and so necessarily presupposes the reality of conscious experience. In response, the illusionist could suggest that the relevant sort (...) of seeming here is not an experiential state, but is a cognitive state, such as a judgement or a belief, which is fully amenable to a physical or functionalist analysis. Herein, I argue that this response is unsuccessful and fails to undermine the reality of conscious experience. Nonetheless, the response does raise the problem of how a judgement or belief about the character of a conscious experience, even if it is true, can be justified if the conscious experience has no causal role in the formation of the judgement or belief. This is not a new problem, but is a reiteration of an old problem that is known in the philosophy of mind literature as the paradox of phenomenal judgement. I consider how the paradox of phenomenal judgement can be resolved and how the judgement or belief about conscious experience can be justified with appeal to the notion of acquaintance. (shrink)

In this paper I will argue that The Birth of Tragedy is not a pessimistic book. If it is a pessimistic book, my argument would not be valid because Nietzsche has later developed anti pessimistic teachings such as Amor Fati, eternal recurrence and the will to power. As I have argued in the earlier writings, (Nietzsche’s Response to Schopenhauer) BT can be understood as a template for Nietzsche’s later work, rather than just the early phase during which he, according (...) to Julian Young, completely succumbs to Schopenhauer’s pessimism. As he asserts: ‘The Birth incorporates without modification Schopenhauer’s metaphysics’ (1992, p. 26, emphasis mine). I will prove that the message of BT is very different from that of Schopenhauer’s. To do this, I will show how BT reflects Nietzsche’s position that life is worth living and opposes Schopenhauer’s pessimism and life denial. If I am right, this chapter will prove, contrary to the view propounded by Young that Nietzsche could not escape life-denying pessimism in BT, that BT is the beginning of Nietzsche’s development of the teaching of life affirmation and also the will to power. (shrink)

In 1976, Julian Jaynes (1920-1997) made an important statement in his work titled "The Origin of Consciousness in the Breakdown of the Bicameral Mind''. As modern humans, we are conscious beings and can think about our thoughts. However, in ancient texts it is observed that human self-awareness and self-awareness have not yet been formed in humans. Jaynes calls this way of thinking, which emerged in the 2000 BC and evolved over time, bicameral thinking. Citing exceptional examples taken from Homer and (...) the Old Testament, he argued that historical heroes could not attain consciousness and therefore could not yet become real subjects. Ancient heroes attributed the voices in their minds to supernatural powers. Janes argues that the characters in the Iliad do not sit and think about what to do like we do, nor do they have alert and introspective minds like us. According to Jaynes, the concepts of thumos, phrenes and kradie found in Homer's works can be considered primitive consciousness. Jaynes argues that the bicameral mind lacks the capacity for metacognition (reflective thinking). The bicameral mind, where episodic and semantic memory, introspection and mastery of consciousness have not yet been formed; It evolves with language use over time. In the 2000s BC, marginal social and environmental changes began to collapse due to societal needs. The stress created by new conditions requires neurological adaptation, leading to the development of consciousness and self-awareness. The heroes of tragedy have experienced traumatic events and have changed and transformed as a result; He gains consciousness as introspection and inner monologue, and provides an important example of spiritual transformation as an immortal psycho-mythological figure. During a period that can be described as a transition from myth to logos, the spirit underwent a rupture. The great social transformations and disasters experienced over time have led to the renewal of the human spirit. In fact, there have been attempts such as divination and communication with supernatural forces to reach voices that can no longer be heard. When all this state of conflict is interpreted through the inner conversations and mental transformation of the person, the dynamic structure of the mind will emerge, where the thinking patterns of the person change depending on environmental conditions. (shrink)

For centuries it has been a mainstay of European and American moral thought that keeping promises—and the allied activity of upholding contracts—is one of the most important requirements of morality. On some historically powerful views the obligation to uphold promises or contracts not only regulates private relationships, but also provides the moral foundation for our duty to support and obey legitimate governments. Some theorists believe that the concept of keeping promises has gradually moved to center stage in European moral thought. (...) They see this movement as part of an historical shift from a moral conception in which an individual’s duties are mainly externally imposed and unalterable, to a conception in which duties are largely chosen by the individual. (shrink)

Aside from bioethics, the main theme of Ronald Green's lifework has been an exploration of the relation between religion and morality, with special emphasis on the philosophies of Immanuel Kant and Søren Kierkegaard. This essay summarizes and assesses his work on this theme by examining, in turn, four of his relevant books. Religious Reason introduced a new method of comparative religion based on Kant's model of a rational religion. Religion and Moral Reason expanded on this project, clarifying that religious traditions (...) cannot be reduced to their moral grounding. Kierkegaard and Kant: The Hidden Debt offered bold new evidence that Kant, not Hegel, was the philosopher whose ideas primarily shaped Kierkegaard's overtly religious philosophy; both philosophers focused on the problem of how to understand the relation between moral reasoning and historical religion. And Kant and Kierkegaard on Time and Eternity republished ten essays that explore various aspects of this theme in greater depth. I argue that throughout these works Green defends a “paradox of inwardness”: principles or ideals that are by their nature essentially inward end up requiring outward manifestation in order to be confirmed or fully justified as real. (shrink)

I present a paradox concerning a person who desires to fail to achieve the goal that matters most to them. I recently encountered a similar paradox, but radical solipsism is a solution to it. This is not a solution to the paradox that I present.

Kant's account of space as an infinite given magnitude in the Critique of Pure Reason is paradoxical, since infinite magnitudes go beyond the limits of possible experience. Michael Friedman's and Charles Parsons's accounts make sense of geometrical construction, but I argue that they do not resolve the paradox. I argue that metaphysical space is based on the ability of the subject to generate distinctly oriented spatial magnitudes of invariant scalar quantity through translation or rotation. The set of determinately oriented, (...) constructed geometrical spaces is a proper subset of metaphysical space, thus, metaphysical space is infinite. Kant's paradoxical doctrine of metaphysical space is necessary to reconcile his empiricism with his transcendental idealism. (shrink)

This paper reconsiders certain of Kierkegaard's criticisms of Hegel's theoretical philosophy in the light of recent interpretations of the latter. The paper seeks to show how these criticisms, far from being merely parochial or rhetorical, turn on central issues concerning the nature of thought and what it is to think. I begin by introducing Hegel's conception of "pure thought" as this is distinguished by his commitment to certain general requirements on a properly philosophical form of inquiry. I then outline Hegel's (...) strategy for resolving a crucial problem he takes himself to face. For his account of the nature of thought depends upon the idea of a form of inquiry in which nothing whatsoever is presupposed; but this idea appears basically paradoxical inasmuch as the mere act of beginning to inquire in a certain way embodies an assumption about how it is appropriate to begin. Turning to Kierkegaard, I consider a key objection to the effect that Hegel's strategy for resolving this paradox depends on the incoherent idea of a purely reflexive act of thinking. Finally, I draw out some central features of the alternative account of "situated" thought and inquiry which Kierkegaard presents as distinctively Socratic. (shrink)